Every character has undulating lines, every detail has a design, every place has a foreshadowing, and every plot echoes. The screenwriter's brain circuit must have a very complete narrative line. At the current stage, I really admire such a clear logic line and strong narrative ability.
Wearing a chef's hat allows Paddington Bear to pinch its nose and the gas comes out of its nose, so the hat stands up without blowing.
A red sock was accidentally washed with the rest of the laundry, and the whole prison became a pink flamingo dress. "Pink flamingos", this metaphor is really knowing.
The parrots of the street newsstands, the lights of the telephone booths, the stray dogs, every detail is well-designed.
The hobbies of every character in the Brown family play a role in catching the real "thief" Buchanan in the back. Mr. Brown turned out to be a "marker" (a good bowler), Mrs. Brown loved adventure stories and practiced swimming in order to swim across the English Channel, Jonathan loved steam trains, and Judy ran her own newspaper, each of which was related to the following plot. association.
Everything that happens in the front of the prison is the connection point with the successful "jailbreak" in the back. The laundry passage, the laundry room, the laundry basket, the sheets, the flour pockets in the kitchen and the gas, the scene where the Paddington bear slid along the clock gears to the top of the tower to get the key, please allow me to shout" Enjoyable”.
The out-of-date actor Buchanan stole the pop-up book, and then in the attic of his house those "actors" flexibly switch one-man dialogues (talking to himself), which is also Hugh Grant's visual and auditory enjoyment for us.
Yes, there is not a single superfluous character. Interlocking and interlocking. This kind of film, I think, does not need to mention any theme or how good the values are. In contrast, what is missing? It's not my area of expertise, it's not my business after all. Purely from a visual point of view!
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